Events Around the World
The song ‘Where have all the flowers gone?’ by Pete Seeger, heard on repeat as part of the flowers artwork, is listed as one of the top 20 most influencing political songs and an anti-war song from the 60s era. It is inspired by Mikhail Sholokhov’s novel The Quiet Flows the Don, and by three lines of an Ukrainian folk song: ‘where are the flowers, the girls have plucked them. where are the girls, they’ve all taken husbands. where are the men, they’re all in the army.’
Composed of the word ‘flowers’ in rose coloured neon light writing mounted on the simple cardboard box of a popular Vietnamese instant noodle brand, the work exudes a gentle and tender air. the noodle box is nostalgic and humble, an allusion to childhood years in the subsidized period, when the artist’s mother sold coffee and food to earn a living in hard times. Coming out from the box, a small set of headphones play the song like an echo; its sound creating a heady audio essence that emanates from within. Together, in a modest ode, these elements accentuate the interchange between the physical and intangible factors at play in the work, and slowly unfurl the complex notions of beauty and peace.
about the artist:
Tran Minh Duc (b.1982, Vietnam) is a visual artist based in Ho Chi Minh City, Vietnam working with the mediums of performance, photography, collage and installation. through a multidisciplinary approach, Tran seeks to explore collective memory and cultural archives by investigating historical narratives, the effects of colonialism and imperialism, and the lasting impacts of war and migration. He is interested in the interactions between the collective and individual, and the local and the foreign; his work forms a personal interrogation of what it means to be Vietnamese in the intricate fabric of contemporaneity. Tran graduated with a BA in painting from the College of Culture and Arts of Ho Chi Minh City, and has since exhibited widely in Vietnam and internationally. Tran is an alumnus of ACC -- in 2017, he received a fellowship from the Asian Cultural Council to be in residence at Art in General in New York City, USA. His artwork flowers was previously exhibited with MoT+++ in 2015, and is part of the Post Vidai, a Vietnamese Art Collection.
Grantee: Tran Minh Duc
"In this world, we" explores forms of visual representation of Chinese migrant workers who are largely excluded from political and cultural domains. Counter to a dominant tendency to portray them as a generic mass of former peasants and interchangeable “others,” this exhibition seeks to draw attention to fragments and traces of their everyday individual lives. In this world, we presents copies of archival images from Liu Chuang’s Love Story (2006-2015), the video installation Waterfall (2016) by Li Jinghu, and selected videos from Labour in a Single Shot (Hangzhou) (2014), part of a video documentation project initiated by Antje Ehmann and Harun Farocki. The exhibition also includes investigative materials from non-governmental organization China Labor Watch.
For a seat on the free chartered bus from New York City for the April 7 opening please call T +1 845 758 7598 or email firstname.lastname@example.org. Reservations are required.
Grantee: Zhu Jinglun
Civilization: The Way We Live Now presents nearly 300 works by more than 130 of the world’s most renowned photographic artists, offering a complex and sprawling vision of contemporary life. The images gathered here, produced in the past 25 years, speak to the changes brought about by globalization, and draw attention both to the increasing amount of complexity and conflict, and to the unprecedented degree of interdependence, that characterize life today. They attest, as well, to the development of the medium of photography, and its ability to document these sweeping changes. Organized in collaboration between UCCA and the Foundation for the Exhibition of Photography, the Beijing presentation of Civilization is curated by William A. Ewing and Holly Roussell.
In his 2011 book, Civilization, the historian Niall Ferguson notes: “These days most people around the world dress in much the same way: the same jeans, the same sneakers, the same T-shirts… It is one of the greatest paradoxes of modern history that a system designed to offer infinite choice to the individual has ended up homogenizing humanity.” This paradox lies at the core of “Civilization,” which strives to explain the “complex whole” that is modern society, in all its spiritual and material richness. The photographers in this exhibition depict, reveal, examine, criticize and otherwise reflect our hyper-modern and complex social terrain, from Edward Burtynsky’smassively transformed landscapesto Lauren Greenfield’s revealing urban portraits,from Toshio Shibata’s highly ordered tableaus to Xing Danwen’s electronic pollution.
The exhibition is divided into eight sections. “Hive” explores the systems of cohabitation and collaboration that have developed in urban settings. “Alone Together” documents the solidarities and estrangements found within communities, as well as the effect of the internet on sociality. “Flow” testifies to the accelerated production and widening wealth gap in the post-industrial world. “Persuasion” explores the power of symbolic capital, from marketing strategies to consumption habits, from religious beliefs to personality cults. “Control” examines humanity’s ability to create order, resolve disputes, and organize political and social structures. “Rupture” focuses on the breakdown of this order, and the conflicts between individuals and collectives. “Escape” follows the ascent of recreational culture, where relaxation, entertainment, adventure, and thrill-seeking offer freedom from the given. Finally, “Next” presents visions of the future, questioning teleological narratives of development.
In addition to a number of scientists and artists, the Japanese artist and activist Yoshiaki Kaihatsu, an ACC alumni, was invited to design the central island of freedom for the ZU. Since Kaihatsu's works are always based on a cooperative formation and reinterpretation of a concrete social environment, his island of freedom will by no means correspond to the cliché of the lonely island. Rather, the Japanese activist creates a space that looks like a futuristic extra-terrestrial living room and invites you to grapple with questions of freedom in the 21st century in various formats. The result is a spaceship of free speech.
Grantee: Kaihatsu Yoshiaki